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MODELS  OF  Musical  form 


GOETSCHinS 


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MODELS 

OF  THE 

PRINCIPAL  MUSICAL  FORMS 


EXTRACT  FROM  LECTURES 

UPON  THE 

“EVOLUTION  OF  MUSICAL  FORMS*' 


DELIVERED  BY 

PERCY  GOETSCHIUS,  MUS.  DOC. 

AT  THE 

NEW  ENGLAND  CONSERVATORY 


NEW  ENGLAND  CONSERVATORY 
BOSTON,  MASS. 

1895 


Copyrig:ht,  1895 , by  PERCY  GOETSCHIUS. 


3 


PREFATORY  REMARK. 

The  term  musical  ^^Forms”  of  which  progressive  Models 
are  here  given,  is  adopted  in  the  sense  of  musical  ^^Structural 
Designs”  and  not  musical  ^^Styles.” 

The  inevitable  incompleteness  of  the  list  of  illustra  - 
tions  is  partly  accounted  for  in  the  note  upon  Irregular  De- 
signs (p..39),  which  see. 

.|. 

EXPLANATION  OF  SIGNS. 


v = the  harmony  of  the  Dominant,  or  5th  Scale- step  oT 'the 

tonality. 

I = the  harmony  of  the  Tonic,  or  1st  Scale -step. 

^ II  = a perfect  Cadence  in  the  course  of  the  Composition. 

II  the  perfect  Cadence  at  the  end  of  the  Composition, 

V « an  ordinary  (light)  Semicadence. 

V = a heavy  Semicadence. 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/modelsofprincipa00goet_0 


MODELS  OF  MUSICAL  FORMS. 


THE  PHRASE. 


Consisting  of  four  ordinary  measures 
in  moderate  tempo. 


IVIoderato. 


See  also  Examples  a to  la.  Two- measure  Phrases  < slow 
tempo  and  large  measures)  in  Examples  16;  18j  Example  28, Part  I. 
Example  35,  Principal  Theme;.  Example  36,  Codetta  II. 

Eight-measure  Phrases:  Example  34,  and.  Subordinate  Theme. 


6 


DIVISION  OF  THE  PHRASE  INTO  MELODIC  MEMBERS. 


Phrasin,^^  the  joints  ” or  points  of  separation  m 
the  Phrase -melody. 


Allegro. 


MENDELSSOHN,  Song  Without  Words, No,  13. 


Joint  in  the  centre. 


MENDELSSOHN,  Song  Without  Words,  No.  20. 

Subdivision  of  first  half. 


MENDELSSOHN,  Song  Without  Words,  No.4. 


Subdivision  of  each  half.  See  Ex.l. 
LOCATION  OF  THE  CADENCE. 
Cadence- chord  falling  upon  first  beat, 

Ex.6. 


See  also  Examples  1.2.3. 11. 12.14.  19. etc.  Example  25, Part  II 
and  Part  III.  Example  26,  Part  III. 


7 


Cadence -chord  falling  upon  the  secondary  accent 


See  also  Example  15, Phrase  2.  Example  18,  Phrase  1.  Example  35, 
Phrases  1,  2. 


Cadence  - chord  falling  upon  an  unaccented  heat. 


See  also  Example  4j  Example  16,  Phrase  1.  Example  JiO,Phrases 
i,  S,  3.  Example  23,  Phrase  1. 

Cadence  on  second  8th.- note. 


MENDELSSOHN,  Song  Without  Words, No. 33. 


See  also  Example  24, Part  II.,  Phrases  1,2,3,  4.  Example  28, 
Part  I. , Phrase  1.  Example  33,  Phrase  1.  Example  .3.3,  1st.  Subordin- 
ate Theme,  Phrases  1,2,3. 


Cadence  on  last  beat  of  the  measure. 


MENDELSSOHN,  Song  Without  Words,  No.  48. 

See  also  Example  8b.  Example  18,  Phrases  2,3. 


THE  REPEATED  PHRASE. 


Cadence  retained  with  no  essential 
(See  Table  at  the  end.) 


Ex.il.^ 


^hras( 

ition. — 

■ X 

^ f r 

III' 

id 

J Bepe 

FOLK-SONG. 


See  also  Example  \^.  Example  28,  Coda.  Example  84, Codetta. 


1 

THE  PERIOD  (or  Double-Phrase.) 
Firstly,  the  PeHod  of  ^^Pamllel  construction  ” 


Evolved  out  of  the Repeated  Phrase,’’ 
by  differentiation  of  the  Cadences/See  Table.) 


See  also  Ex. 24, Part  I.  Ex. 2.5, Part  I.  Ex. 26,PartI.  Ex.29,PartI. 
Ex. .8.3, first  8 measures.  Ex. .84, first  8 measures. 


9 


Secondly,  the  Period  of  Oppcrdte^^  (or  Contrary) 
construction. 


Ex.l4. 


Antecedent  Phrase. 


Semicad.,, 


Consequent  Phrase.  Perf.Cad. 


“TONE-RELATIONSr  Lesson  48,  No.  6.  ( GOETSCHIUS.) 


Thirdly,  the  Period  of  ^'^Contrasting  ^\*onstruction. 

Semicad. 


Ex.15. 


El^  V 


Consequent  Phrase.  Perf.Cad. 


See  also  Example  28,  Parts  Land  II.  Example  26, Part  II. 
Example  27,  Parts  Land  II.  Example  28,  Part  I.  Example  34,  1st. 
Subordinate  Theme. 


THE  PERIOD  WITH  REPEATED  CONSEQUENT  PHRASE. 


The  Cadence  of  Consequent  Phrase  retained, 
with  no  essential  alteration. 


MENDELSSOHN,  Song  Without  Words,  No.  19,  Part  III. 


See  also  Example  29,  Part  III. 

The  Period  with  repeated  Antecedent  Phrase,  or  with  a 
repetition  of  both  Antecedent  and  Consequent  |coniparatively  rare] 
is  constructed  on  the  same  principle. 

THE  PERIOD  WITH  CONSEQUENT- GROUP. 


The  Cadences  of  the  Consequent  Phrases  [Nos.  2 and  3 ] 
essentially  differentiated-  thus  constituting  a^^Keproduction,” 
instead  of^^epetition”of  the  Consequent  Phrase. 


The  Period  with  Antecedent -group  [rare]  is  constructed 
on  the  same  principle. 


THE  GROUP  OF  PHRASES. 


11 


At  least  three  in  number j frequently  four,  five,  or 
more  Phrases,  in  unbroken,  successioir. 


Phrase  No.l. Semicad.  Phrase  No.5i 


See  also  Example  28, Part  III.  Example  29, Part  IV.  Example 
35, Principal  Theme.  Example  36,  Subordinate  Theme. 

THE  REPEATED  PERIOD. 


No  essential  alteration  of  the  Cadence. 
Compare  Example  11.  (See  final  Table.) 


THE  DOUBLE  - PERIOD  (or  Quadruple -Phrase.) 

Evolved,  in  Parallel  construction^  ovii  of  the  ^^Repeated  Pe  - 
riod,” by  differentiation  of  2nd.  and  4th.  Cadences.  Characteris  - 
tic  traits:  Phrase  8 like  Phrase  1;  and  no  complete  inter r up  - 

tion  in  the  course.  See  final  Table.  Compare  with  Exs.  12.&18. 


BEETHO^^N,  Op.  26. 


13 

Measures  small,  but  tempo  slow.  If  the  were  Alle- 

gro or  Presto,  the  form  would  be  a Single  Period, of  two  eight- 
measure  Phrases. 

See  also  Example  29,  Part  II.  Example  33,  1st.  Subordinate 
Theme.  Example  36,  Principal  Theme. 


DOUBLE -PERIOD  OF  CONTR.\STING  CONSTRUCTION. 

Rare;  Phrase  3 unlike  Phrase  1,* 
see  Example  ^,Part  II.  Example  a8,Part  II. 


THE  DOUBLE -PERIOD,  EXTENDED  TO  FIVE 
OR  MORE  PHRASES. 

Distinctive  traits,  as  above:  3rd.  Phrase  like  1st. Phrase, 
and  no  complete  separation  of  the  series  of  Phrases. 


(Phr.6.)  Per  f.  Cad. 


MENDELSSOHN,  Song  Without  Words,  No.  36. 


B V 


I 


14 


THE  CODETTA. 


Appendix  to  Period  or  Double -Period. 


CODETTA 


Perf.Cad. 


HAYDN,  Symphony  8. 

See  also  Example  32,  Subordinate  Theme.  Example  35, last  3 
measures. 


*|i 


15 


THE  BI- PARTITE  OR  TWO-PART  SONG-FORM. 

PRIMARY  DESIGN. 

Equal  Parts,  each  in  Period- form;  evolved  out  of  the  ^^Double-Pe- 
riod” by  contrasting  construction,  and  complete  break  [Cadence] 
in  the  centre.  Compare  ^\ith  Example  ^iO,and  Example  19. 
See  final  Table. 


Part  I,  (Period-form.)  P.rf.Cad. 


See  also,  MENDELSSOHN,  Op.  54,  Theme. 


TWO-PART  SONG-FORM, WITH  DIFFERENTIATED  PARTS. 


Part  I.  (Period-form.) 


V 


extension. 


16 


Part  II.  (Double- Period,  contr.constr.) 


Phr.l.  Phr.2. 


Phr.4. 


MENDELSSOHN,  Op.72;No.2. 

See  also  Song’  Without  Words,  No. 6. 


17 


THE  THI-PARTITE  OR  THREE-PART  SONG-FORM. 
INCIPIENT  GRADE. 

Evolved  out  of  the  Two -Part  Song -form/’ by  distinct  evi  - 
dence  of  a return  to  the  first  Phrase.  See  final  Table.  Com- 
pare with  Example 

Part  I.  ( Period -form.) 

Ex.^5. 


SILCHER. 


See  also  Example  32,  Principal  Theme.  Example  33,  2nd.  Subor- 
dinate Theme. 


THE  THREE -PART  SONG -FORM,  INCOMPLETE. 

(or  Abbreviated.) 

The  3rd. Part  a contracted  reproduction  of  Part  I.  Resem  - 
bles  Ex  25, but  contains  a larger,  more  complete  and  independent, 

Part  I.  (Period -form.) 


2nd.Part. 


EX.26.F 


18 


MENDELSSOHN,  Op. 83,  Theme. 

See  also  MENDELSSOHN, Op. 8)^,  Theme; and  Song  Without 
Words,  No.  IS. 


THREE -PART  SONG, ORDINARY  COMPLETE  FORM. 
PRIMARY  SPECIES. 

Part  III.  exactly  like  Part  I.{See  final  Table.) 


Part  /.(Period- form.) 


Example  33,  Principal  Theme. 


FULLY  DEVELOPED  THREE-PART  SONG-FORM. 


19 


The  3rd.  Part  a confirmation  of  the  beginning  of  Part  I. 
but  subsequently  extended  and  developed  into  an  independent 
Part.  See  Table. 


prelude  (or  Introductibn.) 


Part  y.  (Period -form.) 


Repetition  of  Part  i . Cad. 


Part  IP  (Double-Period.) 


Retransition.  Part  ///.{Group  of  Phrases.) 


Phr.  1,  (from  Part  I.  exact.)  Phr. S (from 


MENDELSSOHN,  Song  Without  Words,  No.  46. 

See  also  Songs  \yithout  Words,  Nos.  40,  25. 

This  example  also  illustrates  the  Introduction,  Interlude? 
Ketransition,  and  Coda.  See  Example  2a,  Codetta,  and  Ex- 
ample 24,  Prelude  and  Postlude. 

For  illustration  of  REPEATED  PARTS,  see  Exs.27;  28?29; 
Ex. 83,  2nd.  Subordinate  Theme.  Ex. 34, 2nd. Subordinate  Theme. 


THE  FIVE -PART  SONG- FORM 


21 


Evolved  out  of  the  Three -Part  Form ’by  Repetition,  or 
Reproduction,  II.  and  ///.;  and  distinguished  by  more 

or  less  essential  difference  between  Part  II  and  Part  IK 
See  final  Table. 


( Double-Period.) 


Phr.4.  (abbrev.) 


2.2 


Part  K (modified  version  of  Parts  Land  III.)  (Per.  with  Consequent- 


MENDELSSOHN,  Song  Without  Words,  No.  14. 


See  also  Nos.  34,  17;  and  Op.  7S,  No.  5. — CHOPIN,  Prelude 
Op.  28,  No.  17.—  Example  34,  2nd.  Subordinate  Theme. 


THE  SONG -FORM  WITH  TRIO, 

OR  MINUET  WITH  TRIO. 

An  enlargement  of  the  Three -Part  Song- Form, effect- 
uated by  compounding  different  [though  kindred]  Song  Forms. 
See  final  Table. 


Ex. 30.  See  Beethoven,  Pianoforte  Sonatas  Nos.l,2,3,and 4; 
the  third  movement  of  each  (“Minuet”  or  “Scherzo.”) 


THE  SONG- FORM  WITH  TW^O  TRIOS. 

Ex.31.  See  Mendelssohn, “Wedding- March”  from  “Midsummer- 
Night’s  Dream.” — Schumann,  Symphony  No.  1, “Scherzo.” 


■|i 


24 


THE  FIRST  RONDO-FORM. 

Evolved  out  of  the  ^^Song- form  with  Trio,”  by  establishing 
closer  organic  relation,  conjunctioi;i  and  coherency  between  the 
successive  members  of  the  structural  design.  Consists  of.  a 
Principal  Theme,  one  Subordinate  Theme,  and  a recurrence  of 
the  Principal  Theme.  To  these  essential  Members  may  be  add- 
ed [largefy  at  option]  Introduction,  Transition,  Retransition, 
Codettas,  Coda.  See  Table. 


Prin. Theme.  (Three-Part  Song-form.) 


Pa-t  I.(Period.) 


Ferf. 


Sva 


25 


F major.  1 

BEETHOVEN,  Pianoforte  Sonata,  No.  1,  Adagio. 


See  also  BEETHOVEN,  Pianoforte  Sonata  Op.79,  Andante . — And 
CHOPIN,  Nocturnes  Op.  32,  No.  2;  0p.48,No.  2. 


2-6 


THE  SECOND  RONDO -FORM. 


Evolved  oat  of  the First  Rondo -form ’by  expanding  the 
1st.  Division  (i.e.the  Principal  Theme)  into  a complete, though 
concise.  First  Rondo-form.  Consists  of  a Principal  Theme  in 
alternation  with  two  different  Subordinate  Themes.  Similar  in 
design  to  the  Song- form  with  Two  Trios.”  See  final  Table. 


FIRST  DIVISION. 


Perf.  Cad. 


Part*  ni,(  Period.) 


27 


SECOND  DIVISION. 

^7id,  Sudord,  ThemeX'^-YzxX  Song- form, incipient  grade.) 


Part  I.  ( Period.)  Bl>  major. 


Part  III. (Phrase,) 


F major. 


BEETHOVEN/'Andante  Favori.” 

See  also  BEETHOVEN,  Rondo,  Op. 51, No.  1;  Pianoforte  Sonata, 
Op.lo,No. Finale, — MOZART,  Rondo  in  A minor. 


THE  THIRD  RONDO  FORM. 


29 


Evolved  out  of  the  ^‘Second  Rondo- form”  by  adding  a 
Recapitulation  of  the  entire  first  Division.  A very  broad  ex- 
pansion of  the  Three -Part  Song-form.  Consists  of  a Prin- 
cipal Theme  in  alternation  with  three  Subordinate  Themes , 
the  third  one  of 'which  is  similar  to  the  first  Subordinate 
Theme,  See  Table. 


(FIRST  DIVISION.) 

Prin  Theme.  (Three-Part  Song-Form.) 

Ex.34. 

Part  I. (Period) 


Perf.Cad. 


transitional  passage. 


30 


1st.  Sudor d.  T/ieme.{  Period  with  extended  re- 


production.) 


Reproduction. 


transitional 


Codetta. 


Dominant  of  C. 


Prin.Theme.  (reduced  to  2- Part  Song- form.) 


to  Transition.) 


SECOND  DIVISION. 

%rvl- Su6ord.  Theme.  (3- Part  Song-Form.) 


Part  I.  (Period;  two  8-measure  Phrases.)  F major. 


Part  II.  Period, *(4  measure -Phrases.) 


32 


Part  II.  (IV). 


Part  III.(V). (Dissolvedlnto  Re- 


33 


RECAPITULATION  OF  1st.  DIVISION. 


Part  III.  (dissolved  into  Transition.) 
« 


transitional  passage. 

1st.  S lizard.  Subject,  (as  before.) 


Prin  Theme.  - . . - - - - Coda. 


BEETHOVEN,  Pianoforte  Sonata  Op.  2^,  No. 3,  Finale. 

See  also  Beethoven  Op.  2, No.  2, Finale;  Op.  13, Finale;  Op. 28, Fi- 
nale; Rondo  Op.  51,  No.  2. 


Ill 


34 

THE  SONATINE -ALLEGRO  FORM. 

Derived  from  the  ^^Third  Rondo-form”  by  a process  of 
contraction  and  concentration.  Instead  of  the  “Alternatioii’of  a 
Principal  with  various  Subordinate  Themes,  is  substituted  the 
'Union  of  Principal  and  one  Subordinate  Theme”on  an  equal 
footing.  A broad  expansion  of  the  Two-Part  Song- form. 
Closely  related  in  design  to  the  Second  Rondo-form.  Consists 
of  a Principal  Theme,  Transition,  Subordinate.  Theme  (and  Co 
detta)  as  ^‘Exposition”  followed  ( after  a brief  Interlude  or  Re- 
transition.)  by  the  ^‘Recapitulation.”  See  Table. 


EXPOSITION. 


Introduction. 


Prin.  Theme, 


Perf. 


Betransition. 


RECAPITULATION. 

Pr'in.  Theme.  ( Group  of  Phrases . ) ^ 


Phr.l. 


Phr.a 


Cad. 


MENDELSSOHN,  “Andante  cantabiIe”for  Pianoforte. 


See  also -BEETHOVEN,  Pianoforte  Sonata  Op.  10, No.  1,  Adagio. 
SCHUBEBTj  Pianoforte  Sonata  No. 4,  Op  12S,  Andante. 


30 


THE  SONATA- ALLEGRO  FORM. 


Evolved  out  of  the ^^Sonatine -Allegro  form”  by  insert- 
ing a more  or  less  elaborate^^Episode”  or Development’  be- 
tween the  Exposition  and  its  Recapitulation.  Abroad  ex- 
pansion of  the  Three -Part  Song -form!’  Related  in  design 
to  the  “Third  Rondo-form.”  See  Table. 


EXPOSITION. 

f Prin.Thetne.  (Double-Period.) 


Ex.36. 


Phrase  1.  A minor. 


Phr.3. 


37 


^TT  T II  Repetition  of  Codetta.  - - - - extension. 


38 


RECAPITULATION. 


Phr. 4.  (dissolved  into  Transition.) 


Cad.yCodetta  II.  with  its  repetition.  (No  separate  (Toda.) 


MOZART,  Pianoforte  Sonata  in  A minor,  1st.  movement. 


See  also:  BEETHOVEN,  Pianoforte  Sonata  Op.  14, Nq. 2, 1st. move- 
ment. Op.  22,  1st.  movement . \Symphony  No.  5, 1st.  movement . 




39 


THE  IRRPTGTJLAH  DESIGNS. 

The  foregoing  pages  only  contain  examples  of  the  Reg^ 
xdar  musical  designs,  arranged  in  progressive  order, according 
to  their  generally  increasing  dimensions , and  along  a line  of 
consecutive  structural  development.  But  a great  number  of 
intermediate  and  irregular  varieties  of  form  exist  which  it  is 
needless  to  illustrate,  inasmuch  as  they  must  necessarily  ei- 
ther admit  of  demonstration  as  modifications  of  these  Reg- 
ular designs,  or  will  evade  demonstration  altogether,  as  lack- 
ing those  elements  of  logical  coherency  which  constitute  the 
vital  and  only  condition  of^^Form”in  musical  composition. 
To  these  latter  comparatively ” designs  belong:  all 
the  Group -forms  (of  which  one  typical  illustration  is  given  in 
Ex.  18);  the  Fantasie;the  Potpourri;  and, as  a rule,  all  so-called 
Tone -poems, and  Program-music  generally.  On  the  other  hand, 
those  Irregular  designs  which  nevertheless  admit  of  analysis 
according  to  the  fundamental  principles  of  musical  logic,  may 
be  classified  in  the  following  four-fold  manner. 

1.  As  representing  an  AUGMENTATION  of  the  design. 
(Examples:  Sonatine- allegro  with  additional  recurrence  of  Prin- 
cipal Theme  at  the  end.  Sonata- allegro  with  two  success- 
ive Subordinate  Themes.  Any  higher  form  with  additional 
Introduction,  Interludes  [e.g.  the  Tutti”  of  the  Concerto]  , or 
independent  Coda.) 

2.  As  representing  an  ABBREVIATION  of  the  design.  (Ex- 
amples: Sonata- allegi’o  in  which  the  Pr in  .Theme  is  omitted  after 
the  development;  etc.) 

3.  As  representing  a DISLOCATION  of  the  members  of  the  de- 
sign. (Examples : A Development  after  the  Prin. Theme  instead  of 
before  it.  Any  alteration  of  the  arrangement  of  members  in  the 
Recapitulation.) 

4.  As  representing  a MIXTURE  of  Rondo  and  Sonata -alle- 
gro designs.  (Examples:  The  2nd.  and  3rd.  Rondo -form  with  a 
Development  instead  of  the  2nd.  Subord.Theme.  Sonata-allegro 
design  with  new  middle  Theme  instead  of  development.) 


40 


41 


10. 


11. 


1». 


13. 


14. 


Prin.Th.-  ^^nbord.Th. 


Prin.Th. 


(Trans.) 

1st.  Division.  N 


( Retrans.) 


^ First  Rondo*form. 


Pr.Th. 


Pr.Th.  S.Th.I.  Pr.Th.  'S.Th.  II. 

II II II II 

(Trans.) (Retrans.)  (Trans.)  (Retrans.) 


^Coda.  II  Second  Rondo-form. 


1st  .Division. 


Middle  Div.  Recapitulation. 


Pr.Th.  S.Th.I.  ,Pr.Th>,"S;Th.  II^,,Pr.Th.  S.Th.I.  Pr.Th. 


Third 


-Coda.  II 

form. 


Exposition.  \ / Recapitulation. 


Pr.Th.  S.Th.  (CodeS\/Pr.Th.  S.Th.  ^Codet 
f '■fa.P* 


( Retrans.) 


„ Sonatine  alle- 
tiTp  gro  form. 


Pr.Th.  „S.Th.  Codet-  '«  Development. X Pr.Th . .,S-Th.  Codet- 


Exposition. 


Episode. 


Recapitulation.  allegro 
form. 


EMBRYO  AND  BASIS  OF  ALL  MUSICAL  FORM.. 

The  Phrase. 


BI- PARTITE  FORMS. 

Period.  Double-Period.  Two-Part  Song- form.  Second  Rondo- 
form.  Sonatine- allegro  form. 


TRI-PARTITE  FORMS. 

Three-Part  Song-form . Song-form  with  Trio.  First  Roiido  - 
form.  Third  Rondo -form.  Sonata- allegro  form. 


THE  END. 


42 


INDEX. 

THE  PHRASE.  5 

Division  of  the  Phrase  into  Melodic  Members. 6 

Location  of  the  Cadence. 6 

The  Repeated  Phrase 8 

THE  PERIOD  ( or  Double -Phrase): 

Parallel  construction 8 

Opposite  or  Contrary  construction 9 

Contrasting  construction. 9 

The  Period  with  repeated  Consequent  Phrase 10 

The  Period  with  Consequent -Group 10 

The  Group  of  Phrases. 11 

The  Repeated  Period. 11 

THE  DOUBLE -PERIOD  (or  Quadruple -Phrase): 

Parallel  construction 1^ 

Contrasting  construction. 13 

The  Double-Period  extended  to  5 or  more 

Phrases. 13 

The  Codetta. 14 


43 


THE  BI- PARTITE  OR  TWO-PART  SONG-FORM: 

Primary  .design 15 

Two-Part  Song- form  with  differentiated 

Parts. 15 

THE  TRI-PARTITE  OR  THREE -PART  SONG-FORM: 

Incipient  grade. 17 

Incomplete  (or  abbreviated) jp 

Ordinary  Complete  form,  primary  species. 18 

Fully  developed  Tbree-Part  Song -form 19 

Repeated  Parts. W 

THE  FIVE -PART  SONG -FORM: 21 

THE  SONG-FORM  WITH  TRIO: 23 

The  Song-form  with  Two  Trios. 23 

THE  FIRST  RONDO -FORM; 24 

THE  SECOND  RONDO -FORM: 26 

THE  THIRD  RONDO-FORM: : 29 

THE  SONATINE  - ALLEGRO  FORM : 34 

THE  SONATA- ALLEGRO  FORM: 36 

THE  IRREGULAR  DESIGNS; 39 

DIAGRAM-TABLE : 40 

Embryo  and  Basis  of  all  Musical  form. 41 

Bi-Partite  forms. 41 

Tri -Partite  forms 41 


